tv [untitled] August 15, 2013 10:00am-10:31am PDT
it's one of the families farther photos it's the way i think of him. my father who could be very articulate was hesitate to speak about art. his own work or the art of others. i think he felt trapped by the formality and the permanent of his words they're often inadequate to express something complex. i am asked what it is like to live with a artist man he was any greatly loved father.
you i'm going to talk about something that's personal. so on the understanding that i am speaking to you as a daughter an admiring daughter. i will share many of my thoughts about my father with you. i'll speak about the berkley period you see so beautifully presented in the museum. for me all of his work is connected. all the work is a continuum about this particular person looked at the world. i should give you a few facts. he was born in 1922 in portland, oregon and they moved back to san francisco when he was a
he was young. apparently, it was considered my father is known for his sensitive to the light and color of a particular place. it's no coincide that those were titled to the places they were paint. all those places have a different quality of life. i'm going to show some works through the various periods of his career. during most of this time with the family was moving along with him until the time i got married in los angeles this although was before i was born in stanford this is entitled paling wallet
circle in 1943. that is in 1949 and the next picture also were we lthd in 1948 where he was a student and teaching at the art institute. we moved to albuquerque this is from 1951 and this second one from 1950 in his masters show. he then accepted the only teaching job that accepted him in illinois. we moved there for one year. this picture is from 1953 and the second picture is number 6
which was also 1953. at the end of that academic were my parents move forward to berkley. the first picture is berkley number 52 and president obama put in emphasis private dierng room in the white house. this picture is seawall. from 1957 you can see he's moving away from a bit distraction toward the figure active. the next is a quash from 1956. he's always been interested in the angle of roads and what they did to your prospective of the
landscape. and finally the coffee from depends looking grand. and the afternoon they moved to los angeles where we taught at ucla and for a few years this first picture is very much in the representational mode although it's quite a bit distracted and there's some or are more abstract then others. ocean park 97 from 1970. we're beginning to get involved in the a bit distraction he did 1 hundred and 35 pictures. then this unentitled picture from 1975 is my particular
favorite pieces. and then alienation park 1980 they're getting quite spare here. and unentitled work on paperwork 1946. he's beginning to explore some earlier forms. my parents left in 1988 and moved to hillsborough california because he was ill most of the time they lived there certainly after his studio 15 got up and going he never did any oil pa t paintin paintings. the second work is actually from 1990 that was painted when he was sick and as many have you may know there's a historical
tradition of artists cross-examine skulls when their contemplating their own death and my mother wouldn't allow this picture in the house. i choose this when he died and finally a drawing work on paper from 1991 which as you can see it's beginning to have some points of view from his very early work per everything also whether he had into someone else and the ideas were also there from the beginning to the end of his life. some of my favorite memories was the way he taught me to see. i'm unable to look at certain
places or things without thinking of him. there used to be an appealing building in berkley he loved. you were aware of the bricks underneath. the color it was painted and the effect of the under color that was now the top. there's a place as you approach the bay bridge on the way to san francisco where you can see the water. he would comment on the color of the day as opposed to the other. he taught me to see the variation as blue or yellow the shadow the classes can effect the color we see if we look at more completely and carefully. though he think of a chair of a model at an we still recognize it when it's colors are pushed
into a different part of the spectrum. he took a well-made pair of scissors or old well-worn tools. he appreciated form as it related to function. our life was organized around his life and it always ways. when we first moved to berkley we lived in a flat where the dining room was his office. later we moved and it's studio was in the backyard and at least part of the time we worked there that he lived there he worked in this studio.
i only knocked on that door once. i wasn't afraid it just wasn't done. my father had his studio in the house a number of times. i wasn't often in the studio but i had a memory of the studio in the actinic of our house. after i had to be taken out of the wizard of house movie my mother took me out of the studio where it was contacted with paint and there was a smell of turning tin that i sock with any father. he explained the difference between infancy and reality then the next day i went to the movie
with him and i mad it to the end of the 340e6. it was important that i understand that concept. now this next picture was made for our son in the 70s. as a grandfather he shared much of his fantastic sense of humor he, he generally shared his work with my children. this next picture is a dragon he drew and he did the drawing the outline of the drawings drawing and some of the details and he did a couple of scales and handed it to my husband and said you finish the scales so my husband very careful did all
those scales (laughter) and my father signed it here and had dick sign it there (laughter) >> my husband and i made a dollhouse for our daughter in 1975 and when my father heard he said to himself no house should be without painting. so he did this series of co- laugz on matchbook covers and on the back of each one is inscribed the date for my daughter and the one the one to the right it says egging on sheila and r d-75 because those
were all cut anti pieces of paper in catalogs and things like that and this pie started out apps i punched the wrong button. this piece started out as a larger sheila picture. let's see. he didn't like to shop so when a birthday or christmas came along he and my mother would make a card. this first card i was pregnant with my first card i wanted a rocking chair so my parents give us a little bit of money to buy that. the second part my son needed a bed at some point he was growing very fast and my dad made the
card. the forty my husband and i which to new york my parents give us a $100 we were supposed to buy some glasses and go to our favorite restaurants and to go here to look. and other dilates and we did have a wonderful time. and then finally there's a card that i will mention that we can't find. i hope someday we will but my mother needed and wanted a suit. and so my father knew this and got her that for her birthday - he took a square of plywood and paint a suit and put a little
handwriting on the top and said good for one suit so i hope we find the citizen i like it a lot. when i was little just what his profession was confused me. he referred to himself as a painter but he also painted houses occasionally. additionally he tailgate paints. the fathers of my friends didn't have paint under their fingernails and explaining this father of mine who was definitely not he'll carding was tough. those next 23 photos were taken for the open museum they hired
him to do a study a document of my parents' house just before they moved to los angeles. the way our varies houses looked inside was different the furniture wasn't conventional. he particle liked old wooden desk chairs. my parents and i resisted curtains and drapes because of the resulting loss of light. so the couch in our living room and i don't mean soft if a usually had our dog valentine sleeping on that. our dishes didn't match but this is the 50s.
in an era where everything was to be matched purse and shoes furniture and cups and sawsers nothing matched anything believe me it was wonderful but it was confusing to me. my father changed which was hanging on the walls. new works were in and out of the house. my father would hang one then another. there were drawings on every available he ledge and frames leaned against walls. and then on the walls. in my recall years they were hung with abstract work.
my friends would eventually point out they could make something as good. we are we were astonished not to find objective things in the pictures. this began to get k345ik9d as he began exploring configuration. i didn't know how to react to this painting. how would i talk about it. it clearly was a horse and the horse clearly had a rider. i was ultimately confounded. also during this time there were drawing of nude men and women and, of course, those drawings resulted in awe averted eyes but only in very rare instances appreciation or understanding. my mother told me i lodged to
live in an older house that was a simple variation of the house next door but in our house everything had a visual instance. this was in al r a bit can you we would gather the beer bottles and stare listed the bottles. then when the beer was brewed we'd label them whatever the batch number was. my mother is an excellent cook. when i was griping the males were delicious and there was no eating in front of the
television expect on wednesday night. hired a model or sometimes two and drew until all hours of the night. one of the most interesting drawings was from the artists that had been grouped to the particular night. it was a little bit like hearing from 3 different observers. expect for those drawing nights he always worked alone. i worked as secretary later and he received letters with resumes
attached. i was instructed to write and say that he worked alone and he only allowed his dog amy. see amy very patiently. there she was. his studios shared certain characters. there was tools and, of course, all sorts of paint and materials that were in an order only known to him. in the figure active years there were indian bed spreads and until late in his life a large very fill ashtray. there would be things talked up on the wall some of which had to
do with what i was interested in. the chair where he sat when he was thinking and looking was consistent in later years a hide chair that he build. because it was too low to the ground there was also a black folding chair that. an old large chair here. that appears in many of the paintings and drawings including one i showed you earlier. there was a lot of sure enough on the floors. the studio was never cleaned out
in any conventional sense it didn't feel dirty. the following slides are paintings that he did and this is from one of his studios in berkley which is now the station. you can see he got a red and white checked floor which is one of the ways we can date those pictures. there it is again. and the next picture - oh, i was going to say that's that black folding chair it never had that lovely design on it but it looks great. this is also in that same studio in the corner of the studio.
this next picture is out of the window of the second studio in ocean park in los angeles. the first one was just a windowless room quite small. the second one had wonderful windows that you put a stick in to keep open. i have always believed that something about that imagine give him a shove in the decision of some of the things he was dealing with in the ocean park picture. we'll see an example of that from 1970 a year after that one i just showed you. and, yes it's still the same studio window by it's getting more a bit tracked. i do remember seeing him
working. he was very physically involved in the paints and canvas. there would be a lot of aggression. his hands were strong and he used the strength to express his ideas. he often drew at home and i remember the same connection to paper which was attached to a board. sometimes he was so involved he'd go through the paper. then an elaborate portion of the paper he would glue on the extensions in various places. sometimes, it seems like this expectation was as important as the drawing itself. the next picture is lock one
which was one of the firngz he did in hillsborough. this is a bunch of pictures of all the things he found on his walk. this is a juice top and tinfoil who knows whatever he found he brought back to the studio and made the picture. he liked the things that had a past. he didn't erase much but left things to contemplate. he had to add an estimation in height. the neighbor didn't understand why the extension was on paper.
this next photo is one by a gentleman of my father drawing my mother. he would say would you hold that position while someone was smoking or taking a drink of something and she would hold it in a lifelike way. i'm still in > there are many drawings of this same position in the backyard in santa monica. and this is ethics it's downstairs but it resides at the national gallery. i wasn't a good model.
there aren't a lot of picture of me he said i became dead when posing and furthermore i hated it. this work on paper was originally purchased by the late pianist. i'm fascinated it reminds me of music and a layers of music it seems like the perfect choose. all artists share certain issues concerning the process. although my father wasn't trained as a musician he had - he and my husband